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MATCH 

EDITION 


60  Cts. 


COMPLETE  AND  PROGRESSIVE 


VOCAL 

EXERCISES 


Fr.  Bonoldi 


CONTRALTO 


COPVKHiHl.  M l»C  OCXCVIII,  BT  HATCH  MUSIC  CDMPAwTi 


Hatch  Edition 


Nos.  9 — 10. 


COMPLETE  AND  PROGRESSIVE 

VOCAL 

EXERCISES 

IN  SIX  GROUPS 

BY 

Fr.  Bonoldi 


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# 


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NEW  EDITION  WITH  INTRODUCTION 
BY 

FREDERIC  W.  ROOT 

SOPRANO  CONTRALTO  I 


PHILADELPHIA 

HATCH  MUSIC  COMPANY 


COPYBIOHT.  MDCOCZCVIII,  BT  HATCH  MOSIP  CO. 


INTRODUCTION 


Whether  for  reasons  fundamental  or  ephemeral,  the  fashion  in  vocal  music  has  undergone  a great  change  since 
Bonoldi’s  Etude  de  Vocalisation  was  first  issued.  Less  than  fifty  years  ago,  one  of  the  most  essential  features  of  a prima 
donna’s  equipment  was  skill  in  the  execution  of  florid  music.  Since  then  the  requirements  in  this  department  of 
6inging  have,  so  far  as  public  performance  is  concerned,  grown  steadily  less,  until  to-day,  the  old-fashioned,  conventional 
aria,  cavatina  and  cabaletta  have,  for  the  most  part,  quite  given  place,  outside  of  the  music  studios,  to  the  more 
declamatory  or  more  realistically  expressive  forms  in  which  modern  music  is  cast.  There  remains,  however,  the 
“ Handelian  run.”  and  the  occasional  cadenza,  or  shorter  ornament,  to  confront  the  singers  of  our  time,  who  must, 
therefore,  master  florid  song,  even  though  it  be  so  little  employed  by  composers  at  present.  Another  important  reason 
why  this  style  of  singing  should  be  studied  is  found  in  the  grace  and  freedom  which  agility  in  passage  work  gives  to  a 
vocal  method. 

For  this  form  of  vocal  study  there  is  nothing  to  be  found  more  compact  and  available  than  these  exercises  by 
Bonoldi,  arranged  in  six  tables,  and  comprehending  simple  passage  work,  more  involved  passage  work,  scales,  extended 
runs,  embellishments  and  chromatic  passages. 

The  compass  in  which  these  exercises  are  arranged  is  an  acknowledgment  of  the  fact  that  a vocal  method  can 
best  be  formed  by  leaving  extreme  notes  until  the  habits  of  vocalization  are  somewhat  established. 

The  single  sustained  notes  with  which  the  work  begins  are  used  to  place  the  voice,  without  diverting  the  pupil’s 
attention,  to  problems  of  execution.  We  may  define  the  term  “to  place  the  voice”  to  mean  that  disposition  of  the  vocal 
energy  which  gives  the  maximum  of  tone  for  the  minimum  of  effort — which  results  in  a free  and  effective  tone 
throughout  a sufficient  compass.  The  term  messa  di  voce  was  used  to  describe  this  part  of  voice  training  during  the 
first  years  of  the  art  of  singing,  and  it  is  yet  often  employed  in  connection  with  such  long,  sustained,  swelled  notes 
as  are  here  found,  and  with  which  most  of  the  older  collections  of  vocal  exercises  begin. 

The  sensations  of  messa  di  voce  being  presented  to  consciousness  by  the  use  of  single  tones,  the  pupil  proceeds 
with  passages  of  gradually  widening  compass,  and  gradually  increasing  difficulty,  keeping  ever  to  the  principles  of 
messa  di  voce,  thus  increasing  his  mastery  of  this,  while  at  the  same  time  gaining  in  familiarity  with  musical  material, 
and  in  accuracy  and  agility  of  execution. 

Modern  dictionaries  and  treatises  define  messa  di  voce  to  be  nothing  more  than  the  increasing  and  diminishing  of 
the  power  of  a tone — the  “swelling  out  of  the  voice.”  This  definition  entirely  misses  the  really  essential  element  of 
the  process,  that  which  the  early  Italians  undoubtedly  had  in  mind  when  they  invented  the  term.  One  may  increase 
and  diminish  the  power  of  a tone  when  the  voice  is  wrongly  produced. 

In  order  to  swell  a tone,  there  must  be  some  application  of  force.  Force  is  applied  in  three  channels  in  order  to 
procure  an  increase  in  the  power  of  vocal  tone.  One  of  these  is  breath  pressure,  which  needs  no  practice  for 
augmentation,  as  it  is  generally  too  strong  from  the  outset.  Another  is  the  register  effort,  which  seeks  to  reinforce 
tone  by  carrying  too  far  upward  the  conditions  which  are  normal  only  at  lower  pitches.  The  third  is  generally 
described  as  directing  the  tone  forward  until  it  becomes  freely  resonant,  as  though  from  a sounding-board,  at  the  same 
time  holding  in  abeyance  all  action  that  opposes  tone.  This  is  the  real  messa  di  voce,  if  we  are  to  let  the  term  stand  for 
an  important  specific  in  vocal  method. 

With  voices  that  are  especially  weak  in  certain  parts,  it  may  be  well,  for  a time,  to  omit  the  more  difficult,  that 
is,  the  more  breathy  or  diffuse  tones  of  the  scale,  and  to  work  for  voice  placing  with  only  those  upon  which  the  pupil 
can  realize  more  clearly  the  desired  effects,  supplementing  these  by  such  special  exercises  as  modern  teachers  know 
how  to  employ,  until,  by  gradual  steps,  the  scale  is  somewhat  equalized,  all  pitches  being  fairly  well  placed  and  the 
disposition  to  force  upward  the  lower  register,  overcome.  Even  after  the  process  of  voice  placing  is  well  begun,  some  voices 
still  show  such  difference  in  power  between  the  lower  and  the  middle  registers,  that  the  scale  exercises  on  pages  8 and 
9 will  offer  less  difficulty  than  those  which  precede,  and  may  therefore  furnish  the  best  starting  point  in  this  work. 

There  may  be  a considerable  interval  required  in  which  to  strengthen  the  medium  tones  of  the  voice,  and  to 
smooth  the  connection  with  the  lower  register  before  pages  4 to  7 can  be  undertaken  with  profit.  Without  this 
preparation  the  pupil  might  constantly  attempt  to  facilitate  the  passage  of  the  voice  upward  through  its  compass,  by  carry- 
ing the  chest  register  to  as  high  a pitch  as  possible,  a fault  which  generally  makes  a good  vocal  method  unattainable. 

When  the  principles  of  voice  placing  are  fairly  well  mastered  and  any  discrepancies  in  register  are  measurably 
overcome,  any  and  all  of  these  earlier  passages  may  be  practiced  to  advantage. 

When  the  poise  of  the  voice  is  such  that  its  softer  tones  are  not  breathy  and  diffuse,  it  is  well  to  minimize  the 
register  problem  by  practicing  the  lower  tones  of  these  runs  softly,  increasing  the  power  as  the  voice  ascends.  Later,  a 
louder  tone  can  be  used,  without  forcing  or  undue  inequality. 

The  mind  must  conceive  a passage  clearly  before  the  voice  can  execute  it  properly.  It  is  best,  therefore,  to 
practice  each  passage  of  these  exercises  slowly  at  first,  making  use,  it  may  be,  of  a slight  impulse  upon  each  note,  such 
as  can  be  employed  without  disconnecting  the  tones  of  a passage;  then,  the  tones  being  clearly  in  mind,  and  the 
vocalization  definitely  planned,  an  increase  of  speed  is  in  order ; but  let  it  be  borne  in  mind  that  musicianly  accuracy 
is  of  the  first  importance.  The  impulse  referred  to,  sometimes  named  martellato,  finds  a necessary  application  in 
Exercises  Nos.  11  and  12  on  page  8,  where,  without  this  device,  the  repeated  notes  would  not  come  out  clearly. 

1008-14.  1009—14.  (2) 


Staccato  execution  is  an  essential  vocal  acquirement,  conducive  to  a clear  conception  of  the  pitch  of  tone,  to  neat 
attack,  and  to  good  breath  management,  among  other  things.  No  staccato  practice  is  specifically  provided  in  these 
studies,  but  it  may  be  taken  to  advantage  with  almost  any  of  them ; for  instance,  on  page  8,  either  No.  3 or  No.  4 may 
always  be  practiced  staccato,  and  Nos.  5 and  6 may  employ  the  staccato  for  the  repetition  of  the  scale  in  each  phrase. 

There  is  some  difference  of  opinion  as  to  the  use  of  grace-notes,  and  in  American  reprints  of  foreign  music  the 
small  notes  are  often  found  incorrectly  expressed.  Manifestly,  Exercise  No.  1 on  page  12  is  intended  to  give  the  idea 
of  the  original  appoggiatura  in  which  the  small  note  borrows  its  time  from  the  large  note  with  which  it  is  associated, 
and  receives  all  of  the  accent.  This  indicates  the  proper  execution  of  the  first  phrase : 


i 


da  . 
Pal 
Lul 


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la 


ni  . 
to  . 

by 


In  order  to  practice  these  embellishments  according  to  their  ordinary  use,  it  would  be  well  to  introduce  syllables,  as 
here  suggested,  employing  the  Graun  syllables  la,  be,  da,  me,  ni,  po,  tu,  or  Italian  or  English  words  of  the  right 
construction  as  to  the  number  of  syllables,  accent,  etc. 

Number  2 may  be  practiced  according  to  the  same  directions,  the  small  note,  however,  taking  but  half  of  the 

i is  ~ 


time  of  that  in  Number  1 : 


2- 


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po  .....  tu la 

Number  3 was  undoubtedly  intended  to  be  sung  by  the  same  rules,  but  it  may  also  be  practiced  to  illustrate  the 
use  of  the  acciaccatura,  generally  printed  thus : 

The  remaining  ornaments  involve  a more  rapid  execution,  but  rapidity  should  not  be  attempted  until 
conception  of  the  pitches,  accents,  and  rhythmic  form  is  clearly  in  the  pupil’s  mind  by  means  of  slow  practice.  The 
impulse,  martellato,  above  referred  to,  may  be  used  freely  here. 

In  Exercises  Nos.  4,  5 and  6 on  pa^ge  12,  the  accent  falls  upon  the  first  of  the  small  notes,  rather  than  upon 
the  large  note.  In  Exercises  Nos.  7,  8,  9 and  10,  the  small  notes  are  to  be  executed  neatly,  with  individual  impulses 
but  without  accent,  which  there  belongs  to  the  large  note  following. 

The  practice  of  the  trill  involves  two  stages,  the  first  of  which — the  conception  and  slow  execution  of  its  rhythmic 
form — is  easily  passed,  and  the  second — an  automatic  rapidity — is  generally  long  in  coming. 

The  chromatic  scale  is  principally  a matter  of  ear  training  and  musicianship.  In  attaining  some  degree  of 
rapidity  in  the  execution  of  the  chromatic  scale,  it  is  necessary  to  fix  the  attention  upon  the  accented  tones — the  first 
note  in  each  group — allowing  the  others  to  go  automatically, with  less  individual  attention.  In  order  to  acquire  facility 

... 

in  doing  this,  it  is  well  to  become  familiar  with  the  tones  of  the  chord  of  the  augmented  fifth,  r ' n 


i 


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which  are  the  accented  tones  in  the  chromatic  scale  which  is  grouped  in  fours;  also  with  the  tones  of  the  chord  of  the 

$£: 

which  give  the  accents  for  the  chromatic  scale  when 


diminished  seventh, 
grouped  in  threes. 


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Very  few  amateur  singers  are  as  familiar  as  they  should  be  with  the  minor  mode.  It  will  be  seen  that  each  table 
of  exercises,  excepting  those  on  pages  10  and  14  has  an  accompaniment  in  the  major  and  one  in  the  minor.  When 
the  minor  is  used,  some  accidentals  will  be  required  in  the  various  passages.  These  the  teacher  must  supply — 
deciding,  in  each  case,  whether  the  harmonic  or  melodic  form  of  the  minor  shall  be  used. 

The  object  of  all  vocal  study  is  mutic,  and  one  of  the  corner  stones  of  music  is  rhythm.  Students  should  not 
allow  themselves  to  neglect  rhythm  in  their  practice — a neglect  which  one  may  easily  fall  into  in  these  studies,  unless 
care  is  exercised.  Even  though  the  passages  be  sung  slowly — and  consequently,  as  in  Nos.  9 to  14,  page  6,  the  rhythm 
proceeds  with  the  greatest  deliberation — the  intervening  chords  of  the  accompaniment  should  not  be  hurried ; the 
rhythm  should  be  kept  strict  throughout. 

One  who  has  mastered  the  exercises  in  this  compact  and  handy  collection  will  find  himself  equipped  with  all 
the  knowledge  of  musical  passages  which  vocal  music  is  likely  ever  to  demand  of  him. 


1009 — 14. 


M £774- 


MINEUR.  MAJEUR.  QUATRE  NOTES.  TROIS  NOTES.  DEUX  NOTES. 


4 


Edited  by 

FREDERIC  W.  ROOT. 


Etude  de  Vocalisation. 

Exercices  De  Deux,  Trois,  Et  Quatre  Notes 


FR.  BONOLDI. 


1009-14  (Note:  Each  Exercise  is  Continued  on  Opposite  Page.) 


5 


Edited  by 

FREDERIC  W.  ROOT. 


Study  of  Vocalization. 

Exercises  Of  Two,  Three  And  Four  Notes. 


FR.  BONOLDI 


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